stakes 9

The “stakes on the water” series, which was an irregular series of works from 2001 to 2008, was interrupted for several years, then the title was changed to “stakes” in 2011 and re-developed.

If fluidity and quietness can be expressed, the policy of not being concerned with the unique color “like the surface of water” is the same as in the previous series, but in this series, motifs other than piles are also added and arranged in relation to the stakes, taking on the challenge of constructing “various stake landscapes.”

This is the 9th film under the new title.

The colored surfaces shaped like lotus ponds are distributed in an intricate manner so that the noisy colors of green and red collide with each other. It is a configuration where white piles are arranged there.

I aimed for an image where “two time axes coexist.”

The contrast between transition and immutability makes time itself a painting.

The production flow is to create a full-scale line drawing, which mainly describes the arrangement of motifs such as stakes, on tracing paper separate from the screen, as shown below in a Japanese painting. Then, plan the layer structure for the colors to be painted over and over.

Once the plan has been decided to some extent in terms of line and color, the line drawing on the tracing paper is transferred onto the panel and the main picture production begins.

The panel to be used is glued on both sides. Ground paint all over the screen, sides, and back. The same color as the background color of the screen has also been applied over the sides.

On the screen, after preparation using undercoating and scraping to crush the wood grain, 20 or more layers of paint are applied as depictions, including parts and solids. Then, while pouring water, grinding with water-resistant sandpaper is repeated until the finished screen is found.

3 weeks

The work is like a vehicle that conveys the viewer's sensibility. We hope you enjoy your favorite trip in the world of color, shape, and matière.